More than four decades have gone by since acclaimed designers Massimo Vignelli and Bob Noorda of Unimark International were hired by the New York Transit Authority (now the MTA) to modernize and unify the look of the subway signage, which by Noorda’s own account “was a mess.” Cluttered with varied typefaces of different sizes and rendered on different materials from mosaic tile to a paper sign stuck to the wall, the old signage system confused more than aided travelers. In its place, Vignelli and Noorda developed a cohesive subway wayfinding system designed to promote intuitive understanding — so much so that they promised: “The passenger will be given information or directions only at the point of decision. Never before. Never after.” It did all that and more. The New York Transit Authority’s wayfinding system is still considered a masterpiece of clarity, logic, consistency, and elegant modernist design.
The accompanying 174-page Graphic Standards Manual was as brilliantly written and produced by Vignelli and Noorda. One day in 2013, two young designers at Pentagram – Jesse Reed and Hamish Smyth – stumbled upon an original copy of the manual in the basement of Pentagram’s New York office. The pair found the manual so awesome that they wanted to share it with friends, so they created a dedicated website (thestandardsmanual.com) and posted scanned pages online. The site instantly went viral. Within 72 hours, more than a quarter million people visited the site. Although delighted, Reed and Smyth felt strongly that an on-screen viewing didn’t do justice to the beauty of the real Standards Manual. To truly appreciate it, they felt people should see it full size in print, and they set out to produce a book with an introduction by Vignelli protege and Pentagram partner Michael Bierut and an essay by New York Magazine’s Christopher Bonanos, author of “Instant: The Story of Polaroid”.
Even standing up close, Beijing-artist Li Hongbo’s sculpture of Michelangelo’s David looks like it is made out of marble or porcelain, but when it is gently pulled up, the bust stretches out beyond recognition, and when released, springs back to its original shape like a Slinky toy. The raw material that Li Hongbo uses for his sculptures is paper, thousands and thousands of sheets of paper. His average classical busts require gluing more than 5,000 sheets of paper together in a honeycomb pattern, using pressure to hold the sheets together. From there, he saws, cuts and shapes the huge block of glued paper to arrive at a rough sculpted form. Li Hongbo then shaves in the finer details and uses sandpaper to smooth the surface.
Clocking in at two minutes, this Honda commercial would be a very expensive ad buy on prime-time TV, but thanks to the accessibility of YouTube and Vimeo, audiences are seeking it out online. The Honda “Hands” ad starts with a cog, just like its award-winning Cog commercial (see July 24 post below). This time Honda teamed with Wieden + Kennedy London to “celebrate the curiosity of Honda engineers” who have made Honda the world’s largest engine manufacturer and racing company since it was founded in 1948. Through “slight of hand” and brilliant animation, the cog morphs into a dazzling array of products, from motorcycles and jet planes to solar-powered cars and robots. The making of this video, directed by Smith & Foulkes and Nexus Productions, is a technological feat in itself. For brands that think they don’t have the budget for such an ambitious production, consider this: Is it better to do something middle-of-the-road and run it on prime time TV or to create something awesomely original that people will “google” to see on their own. If it is good, it will go viral.
In the world of TV advertising, the “Pardon me, but do you have any Grey Poupon” commercial that first aired 32 years ago is a classic. Now it is back, but expanded and embellished for Internet and interactive viewing.
The latest Grey Poupon campaign started with a traditional television ad that aired on the Oscar Awards TV broadcast last Sunday. The 30-second spot, played like a trailer for the feature-length online version. Titled “The Chase,” the commercial, created by CP&B, picks up where the original left off in 1981, with two uber-rich gentlemen dining in elegance in their separate chauffeur-driven cars. As before, one gentleman leans out his window to ask the gentleman in the passing car if he had any Grey Poupon. Once he receives it, his car speeds off and that’s when the excitement begins…and leaves off. To see where the plot goes from there, viewers are told to visit the Grey Poupon website and click on the 2-minute “lost footage” version. From there, viewers are enticed to re-run the video and find the hidden “haute” spots to win prizes such as caviar and champagne flutes.
For more than a century, the QWERTY typewriter was the most important business tool in any office. Millions were made and sold. Then in the 1980s, along came the desktop computer and within a decade, typewriters were destined for the trash heap. Where most people saw outmoded technology, illustrator/sculptor Jeremy Mayer in Oakland, California, looked beyond the typewriter’s original function and saw an intriguing array of metal shapes and forms that could be reassembled into full-scale anatomically correct human and animal figures.
Authored by Jessica Helfand and Michael Bierut. The Design Observer has hosted conferences, launched a publishing imprint, hosted three podcasts, and attracted more than a million followers on social media. All of these enterprises are rooted in the original mission to engage a broader community by sharing ideas on ways that design shapes―and is shaped by―our lives.
HOW Design Live is a career-changing, life-altering experience that attracts innovative designers, marketers, and creative leaders at the forefront of their industries. With 7 conference tracks and over 95 hours of programming over 4 days, you’ll walk away with new skills that are essential for today’s creative professionals.